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Monthly Archives: March 2015

Pattern makers often used long gouges and chisels with a crank between the blade and the handle. This allowed them to operate the tool deep into a workpiece without the handle catching on the edge. In his Dictionary of Tools, R. A. Salaman calls them trowel-shanked, but one often hears them referred to as cranked or crank-handled too.

 

trowel shank gouge

 
 

I’ve got a couple of long in-cannel gouges which I suspect were originally straight and later modified to achieve the same end. Perhaps R. Myers (the name stamped on the handle of the gouge) needed a tool with a cranked shank in a hurry, didn’t have time to obtain one, and so decided to make the best of what he had. The steel at the bent part of the shank is dark and discoloured, which supports the idea because it would surely have been necessary to heat the shank to bend it successfully.

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Mr Myer’s talent for improvisation and economy prompted me to try something similar with a small chisel blade. I’d often thought that a small crank-handled chisel would be the perfect tool for cleaning up squeezed out glue when putting braces and harmonic bars on guitar soundboards but the only ones that I had come across were too big for what I had in mind, and too expensive as well.

I removed the handle from the chisel, wrapped the blade in a wet rag to prevent the important part of the tool losing its temper and then, after heating the shank to red heat with a propane torch, bent it up about 15°.

When it had cooled, I put the handle back on and was delighted to find that it worked just about as well as I hoped it would. The flat underside of the blade acts as a jig and prevents it digging in, and the raised handle allows it to be used in places where accessibility is restricted.

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I’ve been a fan of Roland Chadwick’s music since hearing a performance of his trio for classical guitar, Letter from LA, a few years ago. So I was delighted when he contacted me about a guitar that needed some attention.

It was a fine instrument too – a cedar top classical guitar made by an Australian guitar maker, Simon Marty, in 1988. Quite apart from being 25 years old, it had worked hard for its living and the thin cedar top had developed some nasty cracks in the widest part of the lower bout. Some of the internal braces had come unglued too, and the guitar was more or less unplayable. To make matters worse, someone had tried to repair the cracks with superglue.

This is what it looked like after I had scraped away most of the superglue.

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With a hand through the soundhole, I could feel that the cracked part of the soundboard had become detached from a long transverse bar running across the instrument under the bridge. This explained the multiple little dowels, which were a previous attempt to fix the problem. The only thing to do was cut out the damaged wood and replace it.

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I also needed to replace some missing braces and re-glue several that were beginning to come unstuck. The difficulty here was that the braces, constructed out of balsa wood and carbon fibre, were very thin and it was almost impossible to position conventional clamps accurately enough to hold them in place without distortion. In the end, I solved the problem by making a few spring-loaded miniature go-bars. Wedged between the back of the guitar and the top of the brace, they kept everything in place while the glue cured.

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After re-polishing, it was ready to perform again. All well worth the trouble because, despite its age, it’s an excellent guitar which produces a big warm sound.

 

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